Marcia Thornton Jones's Blog, page 199
April 8, 2014
“Middleview” Interview with Debut Author Skila Brown
Posted by Tamera Wissinger
Today, Skila Brown is joining Smack Dab In The Middle Blog for a guest “middleview” interview. Skila’s debut middle grade novel CAMINAR, Candlewick Press, released on 3/25/2014! Congratulations, Skila!
Here is a bit about Skila:
Skila Brown holds an MFA from Vermont College of Fine Arts. She grew up in Kentucky and Tennessee, lived for a bit in Guatemala, and now resides with her husband and three sons in Indiana.
Here’s a description of CAMINAR:
Set in 1981 Guatemala, a lyrical debut novel tells the powerful tale of a boy who must decide what it means to be a man during a time of war.
Carlos knows that when the soldiers arrive with warnings about the Communist rebels, it is time to be a man and defend the village, keep everyone safe. But Mama tells him not yet—he’s still her quiet moonfaced boy. The soldiers laugh at the villagers, and before they move on, a neighbor is found dangling from a tree, a sign on his neck: Communist.
Mama tells Carlos to run and hide, then try to find her. . . . Numb and alone, he must join a band of guerillas as they trek to the top of the mountain where Carlos’s abuela lives. Will he be in time, and brave enough, to warn them about the soldiers? What will he do then? A novel in verse inspired by actual events during Guatemala’s civil war, Caminar is the moving story of a boy who loses nearly everything before discovering who he really is.
Here are the links to Skila online: Website, Goodreads
Now it’s time to hear from our guest:
Smack Dab Middleview with CAMINAR author Skila Brown 1. In a nutshell, what does your main character, Carlos, want?
He wants to grow up, to stop being treated like a child, and to be brave enough to do the right thing.
2. What’s in his way?
His mother, of course! At least in the beginning. She still treats him like a child and this bothers him. Then, when the worst happens, his own guilt and shame get in his way. (Shame and Guilt. Haven’t we all been blocked by those two?)
3. Did you know right away that this was your story, or did you discover it as you wrote? How did the story evolve?
This story lived in my head for a long time and was trying desperately to come out, but I wasn’t listening. I was also unsure how to tell it really. And then I started writing down some poems and realizing maybe verse was the way to go. Telling the story through poems felt like it allowed a place for things unspoken, that it gave the reader some space to absorb and make sense of the violence in the story.
4. Was Caminar always for middle grade readers or not? If so, why did you choose middle grade? If not, what had to change for it to be considered a middle grade novel?
When I started writing the novel, I really didn’t know if it would be middle grade or young adult. I could tell almost right away that this was a coming of age story, and that the main character was too young for YA. But I knew the story would have violence, war, death, and loss. It all seemed so dark for middle grade. It was a definite challenge, striking the right balance of information that a young reader needs to process what’s going on. There were descriptions of violence that I removed while drafting because I was afraid it would be too much for the audience. I also had to insert more information about the context of what was happening, to make sure the reader could understand. It was a tight balance.
5. What is the best part of writing for middle grade readers?
I write for my child self in mind. This is the time in my life where I fell in love with books, and I think that’s true for so many middle graders. Books haven’t taken a back seat to driving, texting, or flirting in their lives. Kids are starting to choose their own books at this age, and they’re reading them alone, without an adult around. It’s a magical time for a reader, with so much possibility.
Thanks so much for having me on the blog! It’s been fun!
Thank YOU for joining us at Smack Dab in the Middle Blog, Skila. Again, congratulations on the release of CAMINAR!
Today, Skila Brown is joining Smack Dab In The Middle Blog for a guest “middleview” interview. Skila’s debut middle grade novel CAMINAR, Candlewick Press, released on 3/25/2014! Congratulations, Skila!
Here is a bit about Skila:
Skila Brown holds an MFA from Vermont College of Fine Arts. She grew up in Kentucky and Tennessee, lived for a bit in Guatemala, and now resides with her husband and three sons in Indiana.Here’s a description of CAMINAR:
Set in 1981 Guatemala, a lyrical debut novel tells the powerful tale of a boy who must decide what it means to be a man during a time of war.
Carlos knows that when the soldiers arrive with warnings about the Communist rebels, it is time to be a man and defend the village, keep everyone safe. But Mama tells him not yet—he’s still her quiet moonfaced boy. The soldiers laugh at the villagers, and before they move on, a neighbor is found dangling from a tree, a sign on his neck: Communist.
Mama tells Carlos to run and hide, then try to find her. . . . Numb and alone, he must join a band of guerillas as they trek to the top of the mountain where Carlos’s abuela lives. Will he be in time, and brave enough, to warn them about the soldiers? What will he do then? A novel in verse inspired by actual events during Guatemala’s civil war, Caminar is the moving story of a boy who loses nearly everything before discovering who he really is.
Here are the links to Skila online: Website, Goodreads
Now it’s time to hear from our guest:
Smack Dab Middleview with CAMINAR author Skila Brown 1. In a nutshell, what does your main character, Carlos, want?
He wants to grow up, to stop being treated like a child, and to be brave enough to do the right thing.
2. What’s in his way?
His mother, of course! At least in the beginning. She still treats him like a child and this bothers him. Then, when the worst happens, his own guilt and shame get in his way. (Shame and Guilt. Haven’t we all been blocked by those two?)
3. Did you know right away that this was your story, or did you discover it as you wrote? How did the story evolve?
This story lived in my head for a long time and was trying desperately to come out, but I wasn’t listening. I was also unsure how to tell it really. And then I started writing down some poems and realizing maybe verse was the way to go. Telling the story through poems felt like it allowed a place for things unspoken, that it gave the reader some space to absorb and make sense of the violence in the story.
4. Was Caminar always for middle grade readers or not? If so, why did you choose middle grade? If not, what had to change for it to be considered a middle grade novel?
When I started writing the novel, I really didn’t know if it would be middle grade or young adult. I could tell almost right away that this was a coming of age story, and that the main character was too young for YA. But I knew the story would have violence, war, death, and loss. It all seemed so dark for middle grade. It was a definite challenge, striking the right balance of information that a young reader needs to process what’s going on. There were descriptions of violence that I removed while drafting because I was afraid it would be too much for the audience. I also had to insert more information about the context of what was happening, to make sure the reader could understand. It was a tight balance.
5. What is the best part of writing for middle grade readers?
I write for my child self in mind. This is the time in my life where I fell in love with books, and I think that’s true for so many middle graders. Books haven’t taken a back seat to driving, texting, or flirting in their lives. Kids are starting to choose their own books at this age, and they’re reading them alone, without an adult around. It’s a magical time for a reader, with so much possibility.
Thanks so much for having me on the blog! It’s been fun!
Thank YOU for joining us at Smack Dab in the Middle Blog, Skila. Again, congratulations on the release of CAMINAR!
April 7, 2014
Storytelling Renaissance--April Theme
by Naomi Kinsman
When the concept of book trailers first appeared on the scene, I didn't know quite what to think. The line between book and movie had already begun to blur. My author friends spoke of "the movie deal" as though it were the ultimate proof of a book's success. I remember frowning at my screen watching a trailer and saying, "But it's NOT a movie. It's a book!" For me, one of the major problems with trailers was the issue I have with all books-turned-movie, that the characters became that particular actor in my mind rather than me playing the part. I'm an actor first, writer second, so this may be an issue specific to my circumstances. But when I'm reading a book, I slip into the character's skin and see how I would play that part. I become the character--and as a writer, this transformation is what I aim to make happen for my readers. After I've enjoyed a book, I have no problem watching the movie and seeing how someone else might do the role. But the first time through, I want to see myself in those shoes. I want my readers to have that same experience with my books.
I resisted trailers because I felt making the characters so concrete in a reader's mind was a huge artistic sacrifice to make for what I felt was a marketing gimmick. Fast forward a few years to when the line between digital and book was starting to blur. Now, much of my highest level brainstorming was about medium. What medium is best for a particular story? Stage production? Movie? Book? Audio Book? App? Might a story be constructed differently if it were going to be a book-movie hybrid? These are fascinating questions to ponder, and as I opened myself to these new questions, the concept of book trailers came back around.
I took Katie Davis' fantastic Video Idiot Boot Camp and a brand new landscape of storytelling opened up for me. So many new apps have been created recently to help small business people and others who want to create stories via video. Some of my new favorites are PowToon, which uses simple animation to help tell stories and VideoScribe, which creates an animated whiteboard style of video. Of course, there are also the more traditional forms of video to consider, as well. I realized how small-minded I was being about the concept of "trailer." If I didn't want to put my characters out there in video form, fine. But ignoring video as a storytelling tool? Foolish.
As writers, these days, we need to engage in the online conversation. Video is a key way to do that. Video requires a new set of skills so it's definitely a learning curve. However, it's a worthwhile one. Even if a writer doesn't film or edit one's own material, we learn to storyboard and plan out the pacing, content and yes, story, of our trailer or other video. This realization created my aha! moment. Film is yet another tool for telling stories. A spectacular one, actually. Learning to use film does not only provide another storytelling skill set, it gives me a new way to think about stories. New angles are the best way, in my opinion, to see a story with fresh eyes and to bypass those pesky creative blocks.
I'm thrilled about the new surge of energy and creativity that's come along with my video renaissance. I haven't yet made a book trailer, but I have been exploring the world of possibilities video opens for me. I'm sure I will be able now, to conceptualize and create a trailer that showcases my books using my own artistic voice, maybe not using characters... and that's okay. Just because I'm using a tool (in this case, video) doesn't mean I have to use it the way someone else might. That's the fun of a storytelling medium. Each artist plays in that landscape in their own way.
For writers who are hesitating about trailers, I encourage you to explore the many, many options video presents. For librarians and educators working with young readers and writers, I hope you'll explore with your students, too. Video brings up excellent questions of pacing (through editing), tone (through music), action, dialogue and much, much more. It's a fantastic doorway through which to see stories with fresh eyes and learn essential storytelling skills, regardless of the ultimate medium an artist chooses to use.
photo credit: Loopsta via photopin cc
When the concept of book trailers first appeared on the scene, I didn't know quite what to think. The line between book and movie had already begun to blur. My author friends spoke of "the movie deal" as though it were the ultimate proof of a book's success. I remember frowning at my screen watching a trailer and saying, "But it's NOT a movie. It's a book!" For me, one of the major problems with trailers was the issue I have with all books-turned-movie, that the characters became that particular actor in my mind rather than me playing the part. I'm an actor first, writer second, so this may be an issue specific to my circumstances. But when I'm reading a book, I slip into the character's skin and see how I would play that part. I become the character--and as a writer, this transformation is what I aim to make happen for my readers. After I've enjoyed a book, I have no problem watching the movie and seeing how someone else might do the role. But the first time through, I want to see myself in those shoes. I want my readers to have that same experience with my books.I resisted trailers because I felt making the characters so concrete in a reader's mind was a huge artistic sacrifice to make for what I felt was a marketing gimmick. Fast forward a few years to when the line between digital and book was starting to blur. Now, much of my highest level brainstorming was about medium. What medium is best for a particular story? Stage production? Movie? Book? Audio Book? App? Might a story be constructed differently if it were going to be a book-movie hybrid? These are fascinating questions to ponder, and as I opened myself to these new questions, the concept of book trailers came back around.
I took Katie Davis' fantastic Video Idiot Boot Camp and a brand new landscape of storytelling opened up for me. So many new apps have been created recently to help small business people and others who want to create stories via video. Some of my new favorites are PowToon, which uses simple animation to help tell stories and VideoScribe, which creates an animated whiteboard style of video. Of course, there are also the more traditional forms of video to consider, as well. I realized how small-minded I was being about the concept of "trailer." If I didn't want to put my characters out there in video form, fine. But ignoring video as a storytelling tool? Foolish.
As writers, these days, we need to engage in the online conversation. Video is a key way to do that. Video requires a new set of skills so it's definitely a learning curve. However, it's a worthwhile one. Even if a writer doesn't film or edit one's own material, we learn to storyboard and plan out the pacing, content and yes, story, of our trailer or other video. This realization created my aha! moment. Film is yet another tool for telling stories. A spectacular one, actually. Learning to use film does not only provide another storytelling skill set, it gives me a new way to think about stories. New angles are the best way, in my opinion, to see a story with fresh eyes and to bypass those pesky creative blocks.
I'm thrilled about the new surge of energy and creativity that's come along with my video renaissance. I haven't yet made a book trailer, but I have been exploring the world of possibilities video opens for me. I'm sure I will be able now, to conceptualize and create a trailer that showcases my books using my own artistic voice, maybe not using characters... and that's okay. Just because I'm using a tool (in this case, video) doesn't mean I have to use it the way someone else might. That's the fun of a storytelling medium. Each artist plays in that landscape in their own way.
For writers who are hesitating about trailers, I encourage you to explore the many, many options video presents. For librarians and educators working with young readers and writers, I hope you'll explore with your students, too. Video brings up excellent questions of pacing (through editing), tone (through music), action, dialogue and much, much more. It's a fantastic doorway through which to see stories with fresh eyes and learn essential storytelling skills, regardless of the ultimate medium an artist chooses to use.
photo credit: Loopsta via photopin cc
April 6, 2014
BOOK TRAILERS ON A SHOESTRING (HOLLY SCHINDLER)
I enjoy adding video content to my blogs and website. I don't travel extensively, and in lieu of face-to-face contact, I think it provides a level of interactivity, a way for my readers to see or know me in a way they wouldn't otherwise. I like vlogs and readings quirky short clips. I still do trailers, but only in an affordable way. That is to say, I do them myself. I believe my trailers, like any of my video content, should show what I believe is important about my book, why I wrote it. A trailer should show the spirit of the book; that, I think, can only come from the person who wrote it.
My first video for THE JUNCTION OF SUNSHINE AND LUCKY was 25 cents (for the rusted metal flower at a garage sale). It's absolutely in keeping with Auggie's DIY spirit, I think:
My second video for THE JUNCTION involved some professional music and stock footage. The grand total was a hundred dollars (a splurge for me), but it did generate some interest among teachers who have used it as a classroom read aloud:
My latest trailer is for my forthcoming YA, FERAL. This one cost $3.00 (for the royalty-free song). The footage of the woods is my own.
My first video for THE JUNCTION OF SUNSHINE AND LUCKY was 25 cents (for the rusted metal flower at a garage sale). It's absolutely in keeping with Auggie's DIY spirit, I think:
My second video for THE JUNCTION involved some professional music and stock footage. The grand total was a hundred dollars (a splurge for me), but it did generate some interest among teachers who have used it as a classroom read aloud:
My latest trailer is for my forthcoming YA, FERAL. This one cost $3.00 (for the royalty-free song). The footage of the woods is my own.
April 5, 2014
The Dilemma of Book Trailers by Deborah Lytton - April Theme
I am fascinated by book marketing--trailers, videos and the use of social media to reach readers. I am mostly fascinated by it because I find it completely daunting. To help myself navigate these turbulent waters, I have spent the last year enlisting fellow MG and YA authors who have been successful in these endeavors to answer questions on my blog. We have covered topics ranging from blogging to book trailers. One thing I have learned from all of them--you must do what is authentic for you. As writers, we draw inspiration from the world around us, but the words we write come from our hearts. In order to market our work, we must also act from the heart. If you are excited about making a visual representation of your book, then you should do it. All the writers I know who have made book trailers have found the experience to be exciting and rewarding--and whether the trailers are made on a nonexistent budget or a larger one, the authors have a visual marketing tool for use on their websites and at school visits. I did not make a traditional book trailer for JANE IN BLOOM, but instead filmed a question and answer segment about the book as a research tool for MG readers. My brother-in-law is a documentary filmmaker, and I enlisted his help. I wrote questions I thought readers might want to ask me, then my sister asked the questions off camera, and I answered them. I wanted to make a personal connection with readers. Recently, my 12 year old daughter made a book trailer for JANE IN BLOOM, and I love it so much I am going to put it on my blog. Ultimately, the dilemma of book trailers can be solved by following your heart.
April 3, 2014
Book Trailers: Advice from a Pro
The genesis of my book trailer started simply enough. My aunt, Sharyn Murray, is a talented filmmaker, and I asked her if she had ever heard of book trailers. She sounded interested, but had a lot going on in her life at the time, so I let it drop. But then she got back to me, asking for more details, and soon we were off.
To create the trailer, I asked my publisher (Bloomsbury) for high resolution copies of Jim Kay’s awesome illustration for the book. I created a script that matched up the pictures with text. I wanted the text to invite the reader in, but not give away too much of the story. I passed this on to my Sharyn. From there, it was almost like an HGTV home makeover show. I had done my part, now I waited for a reveal. And what a reveal it was! Sharyn surprised me with voiceover, sound effects, and cool animations.
When I asked Sharyn if she would answer some questions about her work and the process of creating a book trailer, she obliged with a video, of course.
Be sure to watch the whole video, but here are some highlights:If you want to get into filmmaking, find a place to volunteer.Digital storytellers work in layers, just like visual artists.“There are two ways to show emotion: they eyes or the voice.” Sharyn included the voice over in the trailer in order to add emotional depth.
As she mentions in the video, Sharyn is a graphic designer as well as a video storyteller (she also performs puppetry!), so if you are looking for a book trailer or some new graphics for your promotional materials, be sure to visit her website. She's smart, easy to work with, and a lot of fun.
To create the trailer, I asked my publisher (Bloomsbury) for high resolution copies of Jim Kay’s awesome illustration for the book. I created a script that matched up the pictures with text. I wanted the text to invite the reader in, but not give away too much of the story. I passed this on to my Sharyn. From there, it was almost like an HGTV home makeover show. I had done my part, now I waited for a reveal. And what a reveal it was! Sharyn surprised me with voiceover, sound effects, and cool animations.
When I asked Sharyn if she would answer some questions about her work and the process of creating a book trailer, she obliged with a video, of course.
Be sure to watch the whole video, but here are some highlights:If you want to get into filmmaking, find a place to volunteer.Digital storytellers work in layers, just like visual artists.“There are two ways to show emotion: they eyes or the voice.” Sharyn included the voice over in the trailer in order to add emotional depth.
As she mentions in the video, Sharyn is a graphic designer as well as a video storyteller (she also performs puppetry!), so if you are looking for a book trailer or some new graphics for your promotional materials, be sure to visit her website. She's smart, easy to work with, and a lot of fun.
Are Book Trailers Still Relevant? (April Theme) by Irene Latham
When I made my first book trailer back in 2009, before the January, 2010, release of LEAVING GEE'S BEND, book trailers felt fresh and wondrous and new. The kidlit world was exploding on the internet through blog tours and group marketing efforts, and it seemed everyone had a book trailer, or wanted a book trailer. I decided to involve students and historic photographs in mine -- here's how it turned out:
When my second novel DON'T FEED THE BOY was released in 2012, I really wanted to do something interview-style, and since the book was set at a zoo, I thought, well, okay, I'll shoot my book trailer at the zoo! Cool, right? We shot a long version and a short version. I offer the long version here (it's true what they say about long one not getting as many views!):
But does anyone actually watch book trailers? Are they watching them now? More importantly to those of us authors who are time and budget challenged: are they worth it? (Read: do they sell books?)
I don't have any hard numbers to support my general feeling that the Age of the Book Trailer is largely in the past. There are still a whole lot of book trailers -- but in the same way that there are a whole lot of author blogs.
Now, to stand out, for your book to stand out, you've got to do something really crazy on your trailer. An interview or simple images with sountrack is not enough. You need something hilarious or really high quality. Something viral.
All this pressure makes me want to hide in a hole and never make another book trailer ever. Even though I'm rather fond of the book trailers I did create, and I am so grateful to the teachers and librarians who have used my trailers to introduce me and my work to kids, particularly before a school visit!
As I look forward to the September release of my next book, I don't think my marketing plans include a trailer. At least not at this time! If I come up with a great idea, maybe. We'll see. And you know? That's the thing about book trailers: they're FUN. And maybe that's a more important purpose for them than selling books? I like to think of them (and all my online content) is this: it's there for the people who want it.
Your thoughts?
When my second novel DON'T FEED THE BOY was released in 2012, I really wanted to do something interview-style, and since the book was set at a zoo, I thought, well, okay, I'll shoot my book trailer at the zoo! Cool, right? We shot a long version and a short version. I offer the long version here (it's true what they say about long one not getting as many views!):
But does anyone actually watch book trailers? Are they watching them now? More importantly to those of us authors who are time and budget challenged: are they worth it? (Read: do they sell books?)
I don't have any hard numbers to support my general feeling that the Age of the Book Trailer is largely in the past. There are still a whole lot of book trailers -- but in the same way that there are a whole lot of author blogs.
Now, to stand out, for your book to stand out, you've got to do something really crazy on your trailer. An interview or simple images with sountrack is not enough. You need something hilarious or really high quality. Something viral.
All this pressure makes me want to hide in a hole and never make another book trailer ever. Even though I'm rather fond of the book trailers I did create, and I am so grateful to the teachers and librarians who have used my trailers to introduce me and my work to kids, particularly before a school visit!
As I look forward to the September release of my next book, I don't think my marketing plans include a trailer. At least not at this time! If I come up with a great idea, maybe. We'll see. And you know? That's the thing about book trailers: they're FUN. And maybe that's a more important purpose for them than selling books? I like to think of them (and all my online content) is this: it's there for the people who want it.
Your thoughts?
April 1, 2014
SMACK DAB NEWS!
Here's the cover for the paperback version of DON'T FEED THE BOY by Irene Latham, illustrations by Stephanie Graegin (available June 24 from Square Fish/Macmillan):
The book also includes "Go Fish" bonus material for readers who want to know more about the author and the origins of this zoo story.
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The book also includes "Go Fish" bonus material for readers who want to know more about the author and the origins of this zoo story.
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In Which I Sit Down to Write About Interdisciplinary Studies and End Up Writing About Grief by Tracy Holczer
The Secret Hum of a Daisy is on the verge of making its way into the world on May 1. It’s a story about a girl who has just lost her mother and has to navigate the treacherous waters of grief while trying to get to know a grandmother she’s never met (and doesn’t want to meet, thank you very much) in a small town where everyone already knows everyone else. To complicate matters, Grace starts to think her mama is sending her signs, sending her on one last treasure hunt – a hunt that she hopes will bring answers to long-held questions, as well as maybe, possibly, Mama herself.Sounds heavy, right? Since it’s a middle grade novel, I’ve had some concerns about it not being a read-aloud. After all, I thought I had written this story for That Kid. You know the one. She is quiet. Maybe he stares out the window more than he should. She likes Monet because she thinks the colors are melancholy. I was one of those kids and always felt more comfortable on the fringes of things, so I wrote that sensibility into my main character. But would the story translate to all those other kids in the class? The ones who have heaps of friends and don’t even know, or care, what the word “melancholy” means? A couple of weeks ago, I heard from a teacher who read a galley aloud to her 6th grade class. I was nervous. Were they bored by all the emotional stuff? Did it make them overly sad? When I went in to talk to the kids, I was pleasantly surprised. They were not quiet, or sad. No one even mentioned the word “grief.” They wanted to know more about how I came up with the main characters and whether or not I was going to write a sequel. Some of them had drawn art from the story and folded origami. Sadako and the Thousand Paper Cranes is mentioned in the novel and this teacher had them read that story as well. She had them fold origami. All wonderful ways to deepen the meaning and talk about symbolism and metaphor.
I came away from this experience realizing something I hadn’t before. Stories about grief meet kids where they are. Some really hear the emotional journey and get something out of it, while others are happy to follow along with the plot and nothing else. Is Mama really leaving the treasure hunt? Where is all that origami coming from? Will Grace and Grandma find their way to each other?Not every child has experienced grief and loss, but we all know it’s coming. And I hope, hope, hope my story will not only reach those kids who have suffered, but will reach the ones who haven’t. That even if they don’t remember they read a story where a girl suffered a terrible loss and found a way through it, they will know, for some reason they can’t quite pinpoint, that they will too.
There is always a way through. For everyone.Coming soon:Common Core aligned Teacher's Guide
March 31, 2014
In Which I Sit Down to Write About Interdisciplinary Studies and End Up Writing About Grief
The Secret Hum of a Daisy is on the verge of making its way into the world on May 1. It’s a story about a girl who has just lost her mother and has to navigate the treacherous waters of grief while trying to get to know a grandmother she’s never met (and doesn’t want to meet, thank you very much) in a small town where everyone already knows everyone else. To complicate matters, Grace starts to think her mama is sending her signs, sending her on one last treasure hunt – a hunt that she hopes will bring answers to long-held questions, as well as maybe, possibly, Mama herself.Sounds heavy, right? Since it’s a middle grade novel, I’ve had some concerns about it not being a read-aloud. After all, I thought I had written this story for That Kid. You know the one. She is quiet. Maybe he stares out the window more than he should. She likes Monet because she thinks the colors are melancholy. I was one of those kids and always felt more comfortable on the fringes of things, so I wrote that sensibility into my main character. But would the story translate to all those other kids in the class? The ones who have heaps of friends and don’t even know, or care, what the word “melancholy” means? A couple of weeks ago, I heard from a teacher who read a galley aloud to her 6th grade class. I was nervous. Were they bored by all the emotional stuff? Did it make them overly sad? When I went in to talk to the kids, I was pleasantly surprised. They were not quiet, or sad. No one even mentioned the word “grief.” They wanted to know more about how I came up with the main characters and whether or not I was going to write a sequel. Some of them had drawn art from the story and folded origami. Sadako and the Thousand Paper Cranes is mentioned in the novel and this teacher had them read that story as well. She had them fold origami. All wonderful ways to deepen the meaning and talk about symbolism and metaphor.
I came away from this experience realizing something I hadn’t before. Stories about grief meet kids where they are. Some really hear the emotional journey and get something out of it, while others are happy to follow along with the plot and nothing else. Is Mama really leaving the treasure hunt? Where is all that origami coming from? Will Grace and Grandma find their way to each other?Not every child has experienced grief and loss, but we all know it’s coming. And I hope, hope, hope my story will not only reach those kids who have suffered, but will reach the ones who haven’t. That even if they don’t remember they read a story where a girl suffered a terrible loss and found a way through it, they will know, for some reason they can’t quite pinpoint, that they will too.
There is always a way through. For everyone.Coming soon:Common Core aligned Teacher's Guide
GONE FISHING in the Classroom Two Ways - March Theme by Tamera Will Wissinger
GONE FISHING is a father and son fishing adventure and sibling rivalry story told through a series of poems, and includes a section that describes the different poetic forms used in the story. To address both the story elements and the poetry elements of the book, I’m pleased to offer educators two options for using GONE FISHING in the classroom, one focused on reading, and the other focused on writing.
The first option is a Teacher's Guide developed by Rachele Alpine, National Board Certified English Teacher and author of Canary. This is a reading guide and includes discussion questions that focus on the story elements in GONE FISHING. It covers all components of CCSS ELA-Literacy Reading: Literature for grades 3, 4, and 5.
The second option is a Mentor Text Lesson Plan developed by teacher and poet, Marcie Flinchum Atkins. The lesson plan focuses on writing and revising several different poetry forms such as those found in GONE FISHING and includes CCSS ELA-Literacy elements of Writing, Reading: Literature, and Language for grades 3, 4, and 5.
Click on the GONE FISHING cover to link to the Guide and Lesson Plan.
National Poetry Month kicks off this week, and on Wednesday morning I’m visiting the 6th grade classes at a nearby school where we’ll be writing, revising, and reading poetry together using many of the elements from Marcie’s GONE FISHING Mentor Text Lesson Plan.
If you choose to use GONE FISHING in your classroom, I hope these resources will be helpful to you and your students.
Happy reading and writing!
The first option is a Teacher's Guide developed by Rachele Alpine, National Board Certified English Teacher and author of Canary. This is a reading guide and includes discussion questions that focus on the story elements in GONE FISHING. It covers all components of CCSS ELA-Literacy Reading: Literature for grades 3, 4, and 5.
The second option is a Mentor Text Lesson Plan developed by teacher and poet, Marcie Flinchum Atkins. The lesson plan focuses on writing and revising several different poetry forms such as those found in GONE FISHING and includes CCSS ELA-Literacy elements of Writing, Reading: Literature, and Language for grades 3, 4, and 5.
Click on the GONE FISHING cover to link to the Guide and Lesson Plan.National Poetry Month kicks off this week, and on Wednesday morning I’m visiting the 6th grade classes at a nearby school where we’ll be writing, revising, and reading poetry together using many of the elements from Marcie’s GONE FISHING Mentor Text Lesson Plan.
If you choose to use GONE FISHING in your classroom, I hope these resources will be helpful to you and your students.
Happy reading and writing!
